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2015-02-17 訛り

Pipilotti Rist- Pickelporno - YouTube


◇ Pipilotti Rist - Be Nice To Me (Flatten 04) - YouTube


◇ Pipilotti Rist - Ever is Over All - YouTube


初見はベルリンのHamburger Bahnhof

◇ Pipilotti Rist- (Entlastungen) Pipilottis Fehler - YouTube

1988 © by Pipilotti Rist


Schule für Gestaltung Basel http://www.sfgbasel.ch/ 時代の作品。1988年。

◇ UbuWeb Film & Video: Pipilotti Rist - Entslastlungen AKA Pipilolottis Fehler (1988

A nursery rhyme or a poem? displayed over a royal blue background the words "I see. You see. I see you seeing. You see me seeing. I want to show what I see. You want to show what you see. Nirvana in the rose garden".

Then the sound starts, a powerful woman's voice repeats the words after they are written on the screen, singing them in German. The enunciation of each phase is marked by a drum roll. Images also appear very abruptly -- the face of Pipilotti, dirty, hatched with white lines and saturation blotches. Then the same nursery rhyme appears again displayed on a blue background, this time in English. And the same voice repeats the line in German in almost exactly the same way as before. We gradually distinguish the images of a concert (the titles tell us that this group is the Reines Prochaines, the musical performance group that Pipilotti established, and which she had belonged to for many years. The tone changes and a new text appears in English "Are you good, are you bad. Are you big, are you small" and a ritonello on the electric organ plays at the same time. The image makes a central superimposed rectangle appear, in which we see Pipilotti outside in the middle of garden amidst huge flowers. Suddenly she falls, collapsing as if fainting. Further away on the side-walk in the middle of a square she falls again. The film closes with a firework, accompanied by the thunderous music provided by the Reines. Translated the title of the film means Pipilotti's faults (appeasement). The texts point us towards a critical perception of visual elements, the underline the absolute subjectivity of the view, and ironies about a paradise of shared visions. Moreover the musical performance of the Reines Prochaines is based (as with all their concerts) on the subversive usage of the most common visual form, la television. With the stereotype of the muscular rocker and the sexy singer, the Reines oppose provocative female groups, inasmuch as they can barely sing or play at all and produce songs with politically radical lyrics (or totally na•ve lyrics). The faults of Pipilotti -- the faults of all little girls (remember here that Charlotte Rist was called Pipilotti by analogy with the heroin of her childhood, Pippi Longstocking) are absolutions at the famous downfalls, from which a new woman might be born. This video which is also a bit cryptic reflects in mirror like fashion the key elements of Pipilloti's work -- music, visual art, individual and collective production without defining any clear boundaries. (LLH)


◇ AtelierRist - YouTube


◇ Big Talk #4 (2010): Pipilotti Rist (Pepperminta) - YouTube

Sjarel Ex interviews Pipilotti Rist about her film Pepperminta at International Film Festival Rotterdam 2010.


◇ Pipilotti Rist - Fourth Wall | Tate

Pipilotti Rist discussed her practice, showed work and answered questions from Williams and Janus.


The lush, MTV-style aesthetic of Pipilotti Rist’s internationally acclaimed video installations presents for many a new, embodied post-identity politics of the gaze. In this discussion, Rist was joined by editor and critic Gilda Williams and art historian and critic Elizabeth Janus to talk about her views on the body, pleasure, crowds and the city, looking especially at her outdoor installations in New York and for Fourth Wall at the National Theatre in London. She discussed her practice, showed work and answered questions from Williams and Janus.


ピピロッティ・リスト - Wikipedia

ピピロッティ・リスト(Pipilotti Rist、本名Elisabeth Charlotte Rist, 1962年6月21日 - )は、スイス出身のビデオ・アーティストチューリッヒロサンゼルスで暮らし、かつ作品を制作している。


学生だった時に、リストはスーパー8フィルムSuper 8 mm film)で映画を撮りだした。大抵の作品は2、3分と短く、色・速度・音が変調されていた。扱うテーマは主に、ジェンダー、性、人体だった。


1988年から1994年までリストはミュージック・バンド&パフォーマンス・グループ「Les Reines Prochaines」のメンバーでもあった。

2002年から2003年まで、ポール・マッカーシー(Paul McCarthy)教授に客員教授としてカリフォルニア大学ロサンゼルス校(UCLA)に招かれた。

リストは配偶者のBalz Rothと暮らしていて、二人の間にはHimalayaという名前の息子がいる。



◇ Pipilotti Rist - Wikipedia, the free encyclopedia


◎ Pipilotti Rist


Hannah Wilke - Wikipedia, the free encyclopedia

Hannah Wilke (born Arlene Hannah Butter; March 7, 1940 – January 28, 1993)[1] was an American painter, sculptor, photographer, video artist and performance artist.


◇ Hannah Wilke - Google 検索



■「展覧会をつくるということ」ハラルド・ゼーマンキュレーター)講演会 Harald Szeemann(Curator)“Making Exhibitions”


◇ 芸術論特殊講義二〇〇六 <第一二講> まとめ:ハラルド・ゼーマンと「人類のプラトー」 - 藤川哲の授業用サイト

<第一二講> まとめ:ハラルド・ゼーマンと「人類のプラトー







◆ハラルド・ゼーマン(Harald Szeemann、一九三三―二〇〇五)について


一九六九年 「態度が形になるとき」展(ベルン、クンストハレ)


一九七二年 ドクメンタ5(カッセル

一九八〇年 ヴェネツィアビエンナーレにアペルト部門創設(アキレ・ボニート・オリーヴァとの共同企画

一九九七年 第四回リヨン・ビエンナーレの総合監督


一九九九年 第四八回ヴェネツィアビエンナーレの総合監督

二〇〇一年 第四九回ヴェネツィアビエンナーレの総合監督 。テーマ「人類のプラトー

二〇〇四年 第一回セヴィーリャ・ビエンナーレの総合監督





Harald Szeemann, “The Timeless, Grand Narration of Human Existence in Its Time,” 49. Esposizione International d'Arte: La Biennale di Venezia, vol.1 (Milano: Electa, 2001): xvii.


Harald Szeemann, “The Timeless, Grand Narration of Human Existence in Its Time”(2001): xviii.

二〇〇一年 第四九回ヴェネツィアビエンナーレ





"Mind over Matter: Hans-Ulrich Obrist Talks with Harald Szeemann," Artforum 35.3 Nov. (1996): 112







ゼーマン えぇ、これは六八年の革命からのスローガンで、自分のことを「精神の外注仕事の代行者」と呼んだときから採用しています。それから、もやは施設の中で従属的な職員としては働かない、と決めたのです。”

Beti Žerov, "Making Things Possible: A Conversation with Harald Szeemann,” Manifesta Journal 1 (2003): 30.





山極満博|mitsuhiro yamagiwa works.


A Report | A Matter Theater: Archaeology and Aesthetics - Chus Martínez and Matt Edgeworth - YouTube

The Anthropocene Project. A Report

A Matter Theater | 2014, Sat, Oct 18 - HKW

Chus Martínez (Art Institute, FHNW University of Applied Sciences and Arts Northwestern Switzerland, Basel) and Matt Edgeworth (School of Archaeology and Ancient History, University of Leicester)

The intensive encounter with materiality has profound resonance in two seemingly very different fields: archaeological excavation and curatorial practice. Excavating the past—in between geological and human-modified strata—is a very matter-sensitive act. The curatorial, on the other hand, appears often as a means of approaching the knowledge-strata of aesthetic forms from a thingly basis. How does the sensual practice of contact with the buried play out in relation to working on and exhibiting contemporary artefacts? Curator Chus Martínez and archaeologist Matt Edgeworth converge from two different angles onto the vitality of matters.


[] What's Going on Today, part 1 - Jon Anderson - YouTube


◇ [ARTS 315] What's Going on Today, part 2 - Jon Anderson - YouTube


◇ [ARTS 315] Jon Anderson - YouTube


magazine / archive / Nam June Paik | MOUSSE CONTEMPORARY ART MAGAZINE


by Caitlin Jones

The history of contemporary art is being written by, to a large extent, Conceptual Art and its legacy. While no doubt essential to any reading of contemporary artistic practice, the conceptual project is only able to tell part of the story. To engage with our increasingly digital, diffuse and distributed culture and the art it produces Caitlin Jones looks beyond this mainstream. Towards the histories of photography, film, video and the Internet which, rich with stories of dematerialization and critique of their own, exert significant influence on the art of our time.


グリッチ | 現代美術用語辞典ver.2.0




著者: 金子智太郎


Computer Music Journal,24.4,"The aesthetics of failure: 'Post-Digital' Tendencies in Contemporary Computer Music",Kim Cascone,MIT Press,2000

Bad Music: The Music We Love to Hate,Christopher J. Washburne, Maiken Derno eds.,Routledge,2004

Cracked Media: The Sound of Malfunction,Caleb Kelly,The MIT Press,2009

Glitch: Designing Imperfection,Iman Moradi,Ant Scott,Joe Gilmore and Christpher Murphy,Mark Batty Publisher,2009

アヒム・ゼパンスキー(Achim Szepanski)

キム・カスコーン(Kim Cascone)

ネトチカ・ネズヴァノヴァ(Netochka Nez-vanova)

マーカス・ポップ(Markus Popp)

ルイジ・ルッソロ(Luigi Russolo)




◇ Glitch (music) - Wikipedia, the free encyclopedia

Glitch is a genre of electronic music that emerged in the late 1990s. It has been described as a genre that adheres to an "aesthetic of failure," where the deliberate use of glitch-based audio media, and other sonic artifacts, is a central concern.[1]

Sources of glitch sound material are usually malfunctioning or abused audio recording devices or digital electronics, such as CD skipping, electric hum, digital or analog distortion, bit rate reduction, hardware noise, software bugs, crashes, vinyl record hiss or scratches and system errors.[2] In a Computer Music Journal article published in 2000, composer and writer Kim Cascone classifies glitch as a subgenre of electronica, and used the term post-digital to describe the glitch aesthetic.[1]


The origins of the glitch aesthetic can be traced to the early 20th century, with Luigi Russolo's Futurist manifesto The Art of Noises, the basis of noise music. He also constructed noise generators, which he named intonarumori. Later musicians and composers made use of malfunctioning technology, such as Michael Pinder of The Moody Blues in 1968's "The Best Way to Travel," and Christian Marclay, who used mutilated vinyl records to create sound collages beginning in 1979. The title track of OMD's popular 1981 album Architecture & Morality makes use of invasive computer- and industrial noise snippets, and has been cited as an early incarnation of glitch.[3] Yasunao Tone used damaged CDs in his Techno Eden performance in 1985, while Nicolas Collins's 1992 album It Was a Dark and Stormy Night included a composition that featured a string quartet playing alongside the stuttering sound of skipping CDs.[4] Yuzo Koshiro's electronic soundtrack for 1994 video game Streets of Rage 3 used automatically randomized sequences to generate "unexpected and odd" experimental sounds.[5]

Glitch originated as a distinct movement in Germany with the musical work and labels (especially Mille Plateaux) of Achim Szepanski.[6][7] While the movement initially slowly gained members (including bands like Oval),[8] the techniques of Glitch later quickly spread around the world as many artists followed suit. Trumpeter Jon Hassell's 1994 album Dressing for Pleasure—a dense mesh of funky trip hop and jazz—features several songs with the sound of skipping CDs layered into the mix.[citation needed]

Oval's Wohnton, produced in 1993, helped define the genre by adding ambient aesthetics to it.[9]

The mid-nineties work of Warp Records artists Aphex Twin (Richard D. James Album, Windowlicker, Come to Daddy EP) chan-EL ) and Autechre (Tri Repetae, Chiastic Slide) were also influential in the development of the digital audio manipulation technique and aesthetic.[citation needed]


◇ Street of Rage 3 Full Soundtrack OST - YouTube


◇ Kim Cascone - Null Drift - YouTube

from "CathodeFlower" [1999]

genres: lowercase, glitch, drone, electronic, experimental

label: Ritornell


◇ Kim Cascone - Polychromatic-Cloud 1 - YouTube


◇ Kim Cascone - rotational beacon - YouTube


◇ IMAfiction #02 06 Rebekah Wilson aka Netochka Nezvanova on Vimeo


◇ Nato.0+55+3d - Wikipedia, the free encyclopedia


◇ DURCH DEN TAG MIT ACHIM SZEPANSKI - 24 Stunden im Frankfurter Bahnhofsviertel - YouTube


◇ Jodi (art collective) - Wikipedia, the free encyclopedia

Jodi, or jodi.org, is a collective of two internet artists: Joan Heemskerk (born 1968 in Kaatsheuvel, the Netherlands) and Dirk Paesmans (born 1965 in Brussels, Belgium). Their background is in photography and video art; since the mid-1990s they started to create original artworks for the World Wide Web. A few years later, they also turned to software art and artistic computer game modification.

Selected works

http://wwwwwwwww.jodi.org - the website that caused Jodi's uproar in popularity with contemporary art.

http://globalmove.us/ - another website using Google Maps, this time creating artistic patterns with the map signs.

http://geogeo.jodi.org/ - a site using Google Maps to show supposed 'Cityfonts'.

http://map.jodi.org/ - Jodi's personal map of the Web.

http://404.jodi.org/ - playing with the "404 - File not Found" premise.

http://sod.jodi.org/ - an art game modification of Wolfenstein 3D.

http://asdfg.jodi.org/ - an experimental website, using randomly generated ASCII art and Javascript.

http://yt-rtyuiop.org/ - an experimental website, very similar to asdfg.jodi.org, YouTube related.

http://text.jodi.org/ - a website similar to wwwwwwwww.jodi.org, containing jumbled graphics.

http://jetsetwilly.jodi.org/ - an edit of the game Jet Set Willy.

http://www.wrongbrowser.com/ - absurd artistic interpretation of a browser (Alt-F4 to exit on Windows, CMD-Q on Mac).

http://g33con.com/ - a web archive containing many websites, including the redirect experiment "you-talking-to-me-you-talking-to-me-you-talking-to-me.com".

http://www.untitled-game.org/ - also on CD-ROM, twelve modifications of Quake.

http://maxpaynecheatsonly.jodi.org/ - cheats on built-in functions of the video game Max Payne 2 - new work released in May 2006.

http://tatatataa.cn/ - an experimental website with a grey background, along with the voice of Duke Nukem saying the Textedit options.

http://zyx-app.com/ - an art project, experimenting with iPhones and human movement.

http://compositeclub.cc/ - a web archive, each containing various clips from Playstation 2 Eyetoy games like EyeToy: Monkey Mania, and Sega Superstars, being "played" by movies.

http://audioswap5.com/ - redirects to a YouTube channel showing videos of internet-themed songs recorded onto vinyl.

http://oss.jodi.org - another Javascript site, famous for containing malicious code.

http://x20xx.com/ - slightly related to zyx-app.com, contains various visual experiments.

http://folksomy.net/ - a web archive containing randomly selected clips from YouTube, all by tag.

http://mboxjodi.org/ - another web archive, this time containing lists of various files, ordered by file extension.

http://www.net-art.org/jodi - biographical entry on net-art.org digital "encyclopedia"


◇ Christian Marclay mini documentary - YouTube


◇ RYRAL (1976) on Vimeo

RYRAL is a realtime audio video performance by Tom DeFanti (creating computer animation with the GRaphics Symbiosis System or GRASS), Phil Morton ("up in the kitchen keepin' track"), Dan Sandin (processing video with a Sandin Image Processor), Bob Snyder (performing experimental electronic music on an analog EMU synthesizer) and an uncredited dancer. This Media Art project was created and performed in April 1976 at the second Electronic Visualization Event (EVE II) in Chicago. EVE II took place at The University of Illinois Chicago.

Documentation of the performance was later exhibited by Diane Kirkpatrick in her exhibition Chicago: The City and Its Artists 1945-1978 at The University of Michigan Museum of Art March 17 - April 23 1978.


◇ Sandin Image Processor Experiments, September 2014 on Vimeo


◇ Dan Sandin interview - criticalartware (2003) on Vimeo


◇ Dresden Dynamo by Lis Rhodes (1971) - YouTube


◇ Lis Rhodes: Light Music | Tate

Light Music is an innovative work presented originally as a performance that experiments with celluloid and sound to push the formal, spatial and performative boundaries of cinema. An iconic work of expanded cinema, it creates a more central and participatory role for the viewer within a dynamic, immersive environment.

Formed from two projections facing one another on opposite screens, Light Music is Rhodes’s response to what she perceived as the lack of attention paid to women composers in European music. She composed a ‘score’ comprised of drawings that form abstract patterns of black and white lines onscreen. The drawings are printed onto the optical edge of the filmstrip. As the bands of light and dark pass through the projector they are ‘read’ as audio, creating an intense soundtrack, forming a direct, indexical relationship between the sonic and the visual. What one hears is the aural equivalent to the flickering patterns on the screens.

Light Music is projected into a hazy room – the beams that traverse one another in the space between the two projections become ethereal sculptural forms comprised of light, shadow and theatrical smoke. This format is designed to encourage viewers to move between the screens, directly engaging with the projection beams, forming a set of social relations in which cinema is transformed into a collective event without a single point of focus. Light Music occupies an important threshold in film history, drawing on early experiments in ‘visual music’ from the 1920s by pioneers including Oskar Fischinger, Hans Richter and Walther Ruttmann, and subsequently opening cinematic practice up to a host of concerns from gender politics to phenomenological experience.


◇ Anni Albers - Google 検索


Hiroshi Kawano Der Philosoph am Computer Selected works - ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe


◇ François Rouan - Google 検索


◇ Tom Tom the Piper's Son (Ken Jacobs) (fragmentos) - YouTube


◇ Tom, Tom, the Piper's Son (film) - Wikipedia, the free encyclopedia

Tom, Tom, the Piper's Son is a 1969 experimental film made by Ken Jacobs. The film is considered a landmark in avant-garde and structural filmmaking, and remains Jacobs' best-known work.[1] It was admitted to the National Film Registry in 2007, and is part of Anthology Film Archives' "Essential Cinema" repertory.[2][3]

In a meticulous experiment in rephotography, Jacobs deconstructs, manipulates, and recontextualizes a small fragment of found footage: a 1905 film showing a group of people chasing a thief through a barn, "shot and probably directed by G.W. ‘Billy’ Bitzer, rescued via a paper print filed for copyright purposes with the Library of Congress," according to Jacobs.[4] Jacobs' refashioning of the footage is an essayistic meditation on the nature of cinematic representation; in the words of Chicago Reader critic Fred Camper, it is "a film about watching movies."[5]


Electronic Arts Intermix : Global Groove, Nam June Paik

Global Groove

Nam June Paik and John Godfrey

1973, 28:30 min, color, sound

"This is a glimpse of the video landscape of tomorrow, when you will be able to switch to any TV station on the earth, and TV Guide will be as fat as the Manhattan telephone book." So begins Global Groove, a seminal work in the history of video art. This radical manifesto on global communications in a media-saturated world is rendered as an electronic collage, a sound and image pastiche that subverts the language of television. With surreal visual wit and an antic neo-Dada sensibility, Paik brings together cross-cultural elements, artworld figures and Pop iconography.

Pepsi commercials appropriated from Japanese television are juxtaposed with performances by avant-garde artists John Cage, Merce Cunningham, Allen Ginsberg and the Living Theatre; dancers moving in a synthesized, colorized space to Mitch Ryder's Devil with a Blue Dress On are intercut with traditional Korean dancers. Charlotte Moorman, her image wildly synthesized, plays the TV Cello; Paik and Moorman play the TV Bra for Living Sculpture; Richard Nixon's face is distorted by a magnetically altered television. In an ironic form of interactive television, Paik presents "Participation TV," in which he instructs viewers to open or close their eyes. Paik subjects this transcultural, intertextual content to an exuberant, stream-of-consciousness onslaught of disruptive editing and technological devices, including audio and video synthesis, colorization, ironic juxtapositions, temporal shifts and layering — a controlled chaos that suggests a hallucinatory romp through the channels of a global TV. With its postmodern content, form and conceptual strategies, Global Groove stands as a seminal statement on video, television and contemporary art.

Director: Merrily Mossman. Narrator: Russell Connor. Film Footage: Jud Yalkut, Robert Breer. Produced by the TV Lab at WNET/Thirteen.


Amazon.co.jp: Glitch: Designing Imperfection: Iman Moradi, Ant Scott, Joe Gilmore, Christopher Murphy: 洋書

A "glitch" usually fixes itself in the amount of time it takes for it to be noticed in the first place, whether as a scrambled cable television delay, a page-loading error on an internet browser or a jumble of pixels on an ATM interface. Glitch: Designing Imperfection consists of over 200 glitch images grabbed, composed and provoked by artists who present these complex fragments of color and lines as thought-provoking mistakes that merit being considered in an aesthetic sense, no matter if as art or as advertising. Artists like Angela Lorenz, O.K. Parking and Karl Klomp muse about what glitches mean to them. The images and text in Glitch capture the fact that no one can deliberately make a mistake, although mistakes are often the greatest sources of inspiration.


◇ notes-on-glitch.md - Gists - GitHub


ヒュー S. マローン/ダニエル・テムキン


◇ How to Easily Create Glitch Art | Front Row Society


◇ jameshconnolly→glitch talk


◎ James Connolly video|sound|new media|glitch





Rumble (Full Album) - Link Wray & The Ray Men - YouTube


Lis Rhodes - Light Reading - 1978 - YouTube

Light Reading, 20 min., black & white 16mm film, UK, 1978

"The view through the lens may be blurred or defined -- focused or unfocusfocused or unfocused -- depending on what you think you know; what you imagine you see; what you learn to look for: what you are told is visible." Lis Rhodes

Since the 1970s, Lis Rhodes has been making radical and experimental films that challenge the viewer to reconsider film as a medium of communication and presentation of image, language, and sound.Dissonance and Disturbance examines the relationships in her work - from film, composition and writing - to the notation of sound and image, and the language of political dissent. To quote Lis Rhodes: "It is dangerous to step out of line, and lethal not to".

Formally rigorous, Light Reading is a visual and aural essay on gender and perception that implicates the viewer in their act of looking. Through meticulous attention to the material of film itself we see glimpses of a photograph and torn images, we hear repeated and fragmented sentences, are continuously asked to look and look again as the auditorium is lit and simultaneously made two-dimensional by the film’s insistent, arresting strobing.

The bloodstained bed suggest a crime..No answers are given, after the torrrent of words at the beginning of the film, all the film offers are closed images and more questions..Is it even blood on the bed, what fracture is there between seeing and certainty? If there has been a crime, 'she' might still be victim..How can a crime of such complexity and continuity be 'solved'? The voice searches for clues, sifting through them, reading and re-reading until the words and letters loom up nightmarishly, no longer hung on the structure of language. Felicity Sparrow, Her Image Fades as her Voice Rises, Arts Council of Breat Britain 1983


Hollis Frampton / (nostalgia) - YouTube


◇ nostalgia (Frampton film) - Wikipedia, the free encyclopedia

(nostalgia) is a 38 minute 1971 film by artist Hollis Frampton (1936–1984). The film is composed of still black-and-white photographs taken by Frampton during his early artistic explorations which are slowly burned on the element of a hot plate, while the soundtrack offers personal comments on the content of the images, read by fellow artist Michael Snow. Each comment/story is heard in succession before the related photograph appears onscreen, thus causing the viewer to actively engage with the 'past' and 'present' moments as presented within the film.

The Librarian of Congress, James H. Billington described it as an "avant-garde classic [with] considered eloquent and evocative explorations of memory and family". [1]

In 2003, (nostalgia) was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". It is available on the DVD collection Treasures IV: American Avant-Garde Film, 1947-1986 (2008), as well as in a Hollis Frampton box set from The Criterion Collection "A Hollis Frampton Odyssey" (2012).


引用/転用/リミックス(映像) | 現代美術用語辞典ver.2.0




著者: 河合政之


ディスクレパン映画 | 現代美術用語辞典ver.2.0


Discrepant Cinema(英), Cinéma discrépant(仏)


著者: 河合政之


ハードウェアハッキング | 現代美術用語辞典ver.2.0


Hardware Hacking

ハッキングが一般的にはコンピュータソフトウェアを対象とするのに対して、スコット・フラムは電子機器を中心とする既存の機器を改造して、機能を向上させたり、その機器に本来なかった機能を生みだしたりする実践をハードウェアハッキングと呼んでいる。一方、ニコラス・コリンズ電子工学の専門知識を前提としないDIY電子工作ハードウェアハッキングと呼ぶ。両者の定義には共通点も相違点もあるが、ここでは現代芸術をより参照する後者を詳述する。 コリンズの『Handmade Electronic Music──手作り電子機器から生まれる音と音楽』(元になったテキストタイトルは『ハードウェアハッキング』)はこの実践の手法を紹介しながら、60年代以降の実験音楽やヴィデオ・アートにおけるハードウェアハッキングの歴史についても概説している。その流れをたどると、60年代にデヴィッド・チュードア、ゴードン・ムンマといった実験音楽家が始めた実践をきっかけに、70年代にはコンポーザーズ・インサイド・エレクトロニクスという電子工作を手がける作曲家の集団が形成された。80年代には安価なシンセサイザーコンピュータの登場でいったん下火になるが、90年代になるとリード・ガザラがサーキット・ベンディングの手法を提唱するなど、デジタルメディアに対するカウンターとして再度注目を集めた。コリンズハードウェアハッキングの文化的性格として強調するのは、電子音楽における作曲家と技術者の分離の解消や、デジタル化によって減退した直接性と接触性の回復などである。

著者: 金子智太郎


◇ モワレ | 現代美術用語辞典ver.2.0




著者: 成相肇


MD et / und GR